Los Angeles-based artist Pae White merges art, design, craft and architecture through site specific installations and individual works which defy our expectations of a variety of techniques and media. For her South London Gallery exhibition she creates a mesmerising installation in which vast quantities of coloured yarn span and criss-cross the room to create supergraphics spelling out words that can only be deciphered by navigating the space. Inspired by a period of insomnia and consequent reflection on the transience of our existence, the letters and words emerge and dissolve depending on both our physical relationship to them and the relative weight of the overall aesthetic experience. (via)
I’ve been following the work of Kristin Baker for over a decade watching the work go from explosive paintings of race cars to the complex and layered abstract explosions of color that she’s working on currently. Last night I visited her personal site and was pleasantly surprised by the high level of documentation. Not only does the site have all her work broken down by year but there’s also time lapse process shots of many of the newer pieces as well as gorgeous photos of her studio which looks better than most NYC galleries.
Sin-Eater is a UK-based artist who draws murky scenes of ancient beasts and the dark arts. Like fable illustrations or tarot cards, his works are replete with eerie-yet-powerful symbols, such as the moon in various phases, leaking hourglasses, human skulls, and obscure runes hidden amidst fog and fur. His intricate linework and grimly religious imagery recall the works of Albrecht Dürer, one of Sin-Eater’s influencers; in a similar style to Dürer’s 1513 engraving “Knight, Death, and the Devil,” for example, Sin-Eater depicts his own esoteric, dream-like sequences wherein the underworld seeps through the surface of the earth, manifesting in visions of twisted forests and unearthly beings.
The name “Sin-Eater” comes with its own fascinating mythologies. From Mesoamerica to the English countryside, the concept has arisen in folklores across the world, referring to people who eat or drink the sins of a deceased person, thereby purifying the spirit’s soul. Through images of death, rot, and consumption, Sin-Eater’s artwork hearkens back to these ritualistic practices, using a traditional medium and ancient imagery to figuratively dissolve the “sins” of humanity across time and space. Like polished bone beneath the rot, the result is a series of illustrations that fester in the imagination before splitting open into near-transcendent beauty.
View more of Sin-Eater’s works on Tumblr. Prints and other merchandise featuring his work can be purchased on his shop. Sin-Eater has also designed items for the Irish clothing company Nine Lives, viewable here.
New to B/D, visual artist Mike Calway-Fagen presents a new mixed media installation piece titled we will never really know. Mike’s work is inspired by action and activism and looks to inspire a “culture of complacency.“
Artistic duo Fantich & Young, featured previously for their “power suit” made of human hair, are at it again with a new pair of shoes for little girls: an adorable pair of Mary Janes with a sole of human teeth. Upon first inspection, the tiny shoes are certainly the height of innocence, with their shiny surface and chunky red strap. With the addition of the teeth, top and bottom rows muddled together monstrously, this beacon of cuteness becomes dark and deadly. The festive footwear, which we might easily imagine paired with white ruffled ankle socks, are embellished with actual dentures, signifying old age and decay. The yellowed incisors, crushed brutally underfoot, provide quite an arresting contrast to the quaint little shoes.
In another recent addition to their ongoing project Apex Predator, Dominic Young and Mariana Fantich construct an egg from human dentures. Here, the themes of birth and death, innocence and corruption, emerge more readily. The egg, art historically a symbol of both the fragility and comfort of the the womb, abandons its delicate shell for hard, armored enamel. Arranged in careful rows, the teeth threaten predators who seek to steel the egg from the safety of its nest. This symbol of youth and birth adopts new meaning when made from teeth designed for the old. When hatched, the baby bird is fed his food pre-chewed, regurgitated into his mouth by his mother; this egg comes fully equipped with gnawing teeth. What type of creature might emerge from this monstrous orb? Take a look. (via Design Boom)
Recent university graduate Claudio De Luca has been experimenting with merging traditional sculptural methods with new technologies and coming up with some exciting results. He works with ceramics, bronze casting, wax and wood for the base of her artworks, and builds on them using modern, digital-based techniques. His final year’s work at the Cardiff School of Art and Design featured a series of ceramic skulls and heads that were filled with different material, and had cubic shapes bursting out from their fronts.
De Luca has been trying his hand at laser cutting, 3D printing, 3D scanning, 3D modelling, and CNC machining. The combination of these different methods are a nice metaphor for the subject of De Luca’s work. He explores the ideas of identity and representation in a modern world, and especially how we present ourselves in the digital world. He says:
Ones portrayal of themselves in an online ecosystem is largely skewed, this is a feature of who they should be, never are the insecurities shown or the flaws revealed. Vulnerabilities such as these are how we define our best attributes and ultimately forge long lasting relationships.
I look at how the facets of ones self are greatly lessened when choosing what information to construct in the digital space, through 3D scanning a person, I digitally ‘decimate’ the facets their faces are made of thus abstracting there true self. This I feel is what would best visually represent ones online identity in a digital setting. The less facets to be seen, the less a person is truly showing of themselves.
He uses the shapes in her work as a metaphor for the two realities merging – the physical and the digital. The effect of these ‘hollow faces’ are a scary reflection of what type of people we are becoming in this digital age. It makes you want to check your own reflection in the mirror, doesn’t it?